As the semester closes out, select Rhode Island School of Design (RISD) students are likely reflecting on one of the fall’s more atypical visiting teachers. Murray Moss, the figure behind the eponymous Moss, one of the 21st century’s most iconic design galleries and stores, has been taking his knowledge of art and design to RISD, where he delivered two lectures that were followed by graduate workshops at the RISD Museum. When I met with Moss in the lobby of his hotel, he was in a genial mood, sort of unabashedly prepared in his self-professed unpreparedness (a fib; he had quite a bit of material to riff on) for his lecture later that night, titled “Interdisciplinary Design Becomes the Norm.” “I'm not a lecturer,” he admitted, “but I thought, well, at this point I could try anything. What do I have to lose?” The first lecture, delivered this past October, was titled “In Search of a Narrative.” In it, Moss asked design students to consider the narratives and histories objects embody and tell. Sort of. “An object can't tell you anything,” Moss told me in the lobby of his hotel, speaking of his own approach as a curator of design and about what he enjoys about working with students, “but a person can. They can share the way they see what they've done...If what they start to say to me is interesting, then I start to like the thing.” He has, he claims, “never in [his] life seen a trend.” I asked Moss about the increasingly blurry boundary between art, architecture, and design—something that has come to define young gallerists like Jay Ezra Nayssan of Annex LA or Benoît Wolfrom and Javier Peres of Functional Art. “My question would be, why do you ask?” Moss responded. “It's like, what is interdisciplinarity? Why do you care? Who told you that's something you were supposed to waste five minutes on.” I pointed out he was about to “waste” an hour on it. “I know. But I didn't know what it was. I always get in this mess. I pick a topic, because I think it's going to be good, and then five minutes after I agree to do it, it turns out, I read something and I'm like, ‘This is a horrible subject.’ And I'm stuck with it.” His talk, which opened with winking self-deprecation, was, however, decidedly not horrible. He used his subject and its title, which he admitted he picked before he wrote the lecture, as a launching pad to undo the expectations built into the title. If interdisciplinarity is already the norm, then what’s next? “What’s emerging,” Moss told students “is much more radical.” He suggests that “we must pass through, it seems, interdisciplinarity in order to attain anti-disciplinarity.” He suggests that instead of being siloed into fields and disciplines and their correspondent singular methodologies, or even working together with other disciplines, thus still acknowledging those disciplines, we must work in the spaces between disciplines or after them all together that is, anti-disciplinarity—increasingly relevant today. Speaking to students he told them to “check [their] opinion bags at the door,” before exploring the possibilities of learning and creating beyond disciplines and without the confines of taken-for-granted foreknowledge. He then showed off the work of designers, artists, and mathematicians who he says work in the spaces between disciplines, including Ingo Maurer, Maarten Baas, Cathy McClure, and Haresh Lalvani. Although Moss professed disgust at the idea he might have any legacy as a “motivational speaker,” he still has a deep belief in learning and in encouraging new generations to think widely and chase new ideas, part of his motivation for teaching with a radical ethos that looks at the personal and looks for thoughts that exceed and even destroy traditionally held boundaries. “I think that we owe it to the younger people to encourage them to soar.”
Posts tagged with "Ingo Maurer":
Once again, top-drawer design talents—Ronan and Erwan Bouroullec, Konstantin Grcic, Ingo Maurer, Nendo, and Daniel Libeskind among them—claimed the limelight at the last Salone del Mobile. More than 300,ooo attendees navigated the halls of the Rho exhibition center, while closer to the center of Milan, satellite shows and exhibitions drew crowds to more avant-garde events. Here's a selection of our favorite pieces. Rival Artek While created as a work chair for the home office, this swiveling seat has a distinctive presence. Fabricated of birch, in high- and low-back styles; leather and fabric upholstery. Designed by Konstantin Grcic. Flying Flames Ingo Maurer Repositionable downlights and dimmable LED “candles” are held by magnets to a ceiling-mounted canopy that contains an integrated electronic ballast. Designed by Moritz Waldemeyer and Ingo Maurer and team. SU Collection Emeco These simple stools are offered with seats of reclaimed oak, recycled polyethylene, or an eco-friendly “concrete” material, atop legs of anodized aluminum or wooden legs. Designed by Nendo. 22nd Floor Moroso Folded steel and aluminum comprise an all-in-one seating and table unit. Varying the palette of textiles and surface materials creates a custom design. Designed by Tord Boontje. Carbon Fiber Chair Coalesse Weighing less than five pounds and capable of supporting 300 pounds, this stacking chair takes full advantage of the technical properties of carbon fiber. Designed by Michael Young. Shanty Summer BD Barcelona Design Each of the corrugated door panels fronting this cabinet opens in a different direction. Available in several color schemes. Designed by Doshi Levien. Paul Smith & Maharam Carl Hansen & Son Modern classics including the Wing Chair, the Shell Chair, CH28, and the CH163 sofa all receive the signature striped treatment. Textiles by Paul Smith & Maharam; chair designed by Hans Wegner. Paragon Artemide A body of extruded aluminum in matte black or anodized grey finishes, this blade-like floor fixture uses a dimmable LED lamp. Designed by Daniel Libeskind. N=N05 Casamania Breaking apart the components of a traditional sofa, this chair’s seat and backrest float separately, but are linked together by a thin exposed framework. The integral side table is made of ash wood. Designed by Luca Nichetto and Nendo. Big Will Magis This wheeled work or dining table extends to seat eight. The witty wheel-like pair of legs slide for easy expansion. Designed by Philippe Starck. Tuareg Foscarini This tubular fixture’s three LED light sources adjust 360 degrees and can be operated independently, allowing it to be used as a reading lamp, wall lamp, or floor lamp. Designed by Ferruccio Laviani.
The scene at Ingo Maurer was a tad more subdued than the rest of Green Street last Monday night. Could it be because Maurer's work has a such tactile quality that the space feels more like an art gallery? Showroom hoppers didn't make an immediate bee line to the bar. How could you when the first thing you see on entering is the arresting vision of "Spirits Flying High". The undulating sheet of light looks a flying carpet about to blow out the door. On closer inspection the 87 inch by 50 inch hanging light fixture is composed of more than 100 LED strips wrapped in a warm milky colored silicon. Don't ask, the special commission piece is not for sale.